Canadian composer John Oliver writes about music composition and performance and the artistic life. Topics include music and society, musical models, listening to sound, writing for instruments, new media, immersive music, live electronics, algorithmic music, computer as musical tool, playing fretless and other nylon-stringed guitars, and his own compositions and works-in-progress. And life.

Sonic Mosaics is a book of interviews conducted by composer Paul Steenhuisen over a three year period from 2001-2004. Over half of the interviews were commissioned by Toronto's monthly, short-run music publication WholeNote on the occasion of a composer's presence in the city for a premiere performance or CD release. Two were originally published in Musicworks magazine and the rest were conducted by Steenhuisen afterward to complete the book and attempt to represent more Canadian composers.

Steenhuisen gets full marks for disclosure: he reveals the shortcomings and strengths of the book in the introduction. Although the book contains a large number of interviews with Canadian composers, the author admits that it is by no means representative of the entire country. The reader is treated to six interviews with non-Canadian composers, three of which occur as a result of a composer's appearance as a guest of New Music Concerts. Five are with the most senior generation of international contemporary music "stars": Pierre Boulez, George Crumb, Mauricio Kagel, Christian Wolff and Helmut Lachenmann; the sixth is UK composer Michael Finissy.

Equivalent Canadian senior composers include R. Murray Schafer, John Weinzweig, Udo Kasemets, John Beckwith, and Francis Dhomont. Yet equivalent senior composers of Quebec and the rest of Canada are not represented. The rest of the interviews give a glimpse into the creative minds of primarily composers who reside in the province of Ontario. Place-of-residence analysis reveals that, of the 26 Canadian interviewees, 16 reside in Ontario, 6 in Quebec, 3 in British Columbia, and one in Alberta: not an accurate proportional representation. The reader may also note that over half of composers represented here teach at universities, an understandable bias given the author's background and the general tendency in Canada for composers to gain a livelihood from teaching. If this represents only a subset of important Canadian composers, the reader's curiosity will be aroused to seek out information about more as a result of reading this book. A second volume is in order.

One might fear that a book of interviews in which one specialist interviews another in the same field would result in an impenetrable, jargon-ridden read that would send the reader crying out for generalists to give them something understandable and relevant to their own experience. This book, though not for the uninitiated, rarely crosses the line into the specialist realm. It should inspire the music fan to want to learn more and will be particularly attractive to musicians and music students. In this way, it achieves the goal to create a context of understanding for the music: mythologies melt away, though they may be replaced with new and more interesting ones!

Steenhuisen as interviewer asks probing, well-researched and varied questions that elicit from his subjects responses that vary from candid and revealing to evasive or predictable. Thankfully, the latter moments are few. Rather, we experience a conversation rich enough in detail to please the contemporary music enthusiast (though rarely theoretical and technical enough for the academic), and broad enough in scope to introduce those in the earlier stages of discovery to basic paradigms of the art and to some major international figures and a cross-section of Canadian composers, most of whom are interviewed for the first time in such a volume. The sense of speaking in confidence brings authority and depth to many of the interviews that a journalist would be less likely to reach.

Steenhuisen's questions and style – sometimes probing, other times knowingly prodding the subject – create a text that never lags. The author states, again in the introduction, that "while trained in neither journalism nor interviewing techniques, I am instead a self-taught critic, and approached the interviews as an interested professional, with the goal that my own interests and perspectives on the work of the interviewee would overlap with those of other listeners." This approach gives the reader a consistency of intent throughout the book, thus providing a book full of ideas about music, composition and the professional life, though few biographical details.

Considering the interviews' length and generalist purpose, they are remarkably thorough. For example, we have a fine overview of the career of Pierre Boulez in 8 pages: "you should be autodidact by will, not by chance" and "I like specialists only for surgery and medicine, but not for music." The personality of each interviewee shines out. Steenhuisen's intends is to cover as much territory as possible. Among his many questions, Steenhuisen usually directs the interview toward the discussion of a specific work and its ideas and touches on the subject of social relevance by way of the topic of communication. Several of the senior composers have appeared in print in the past and are well-known in Canada, but may be new to non-Canadian readers. Entirely new information is contributed to our understanding of contemporary music in the interviews of younger generations. Among the most fascinating are Howard Bashaw, who speaks of pre-compositional planning, musical structure, the role of the piano, intimacy, exactitude, and performance energy; Michael Finnissy, whose continuous ramblings seem chaotic on the surface but clearly the work of a brilliant mind; and Chris Paul Harman's discussion of recontextualisation, self-criticism and self-distancing from the materials of music. Helmut Lachenmann's entire interview could function as a suitable introduction to the whole book, especially his description of his own music as creating a "situation of perception, which provokes you to wonder 'What is music?'"

Another great pleasure comes from comparisons among composers, and the echo of one composer's ideas in another's. To give just one example: the echo of Normandeau's birth of the musical material from listening to the sounds in Barbara Croall's description of her way of composing; then the relationship of Croall's attraction to the "imperfect", "in-between" sounds to Lachenmann's explanation of the use of such sounds as establishing "new contexts" for listening and composing. The book is full of such riches. A highly-recommended read.

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About Me

Composer for classical orchestra and chamber ensembles, intercultural groups, and immersive acousmatic music. Performer of new music for multiple guitars & computer in small ensembles (duos, trios, etc.)